Two-day Rock Fashion Week L.A. closes out a month of runways

 

Gen Art's Fresh Faces in Fashion event returned to the Petersen Automotive Museum this season, presenting the Spring 2010 runway collections of  Leyendecker, Seneca Rising, MG Black Label menswear, Valerj Pobega and Rory Beca.

The most memorable among them was Pobega's "Bondage collection," which added a layer of Japanese bondage influence to her 1920s-meets-punk culture aesthetic, with deconstructed kimono dresses, silk charmeuse cocoon coats and irregular circle skirts, hand-dyed, stained and screen printed to look rust-flecked, rope-wrapped and ink-dripped.

Corey Lynn Calter hosts a chic dinner

Corey Lynn Calter amped up Los Angeles Fashion Week by hosting one of its most refined gatherings last night. The L.A. contemporary designer -- who's known for her whimsical prints and flirty silhouettes -- hosted a fashion presentation, followed by a sit-down dinner, in the form of a roving short film.

Designer Julia Clancey's collection stolen, partially recovered

On Tuesday, five days before her scheduled Los Angeles fashion show, two sets of designer Julia Clancey's entire Spring/Summer 2010 collection were stolen from in front of her Marina del Rey apartment unit, forcing the designer to cancel the show, a scenario reminiscent of Clancey's March 2008 runway show at Smashbox Studios, which was nearly derailed after that collection was detained by U.S. Customs.

On Thursday, according to the Los Angeles County Sheriff's Department, a portion of the collection was recovered after an employee of the cleaning service hired by the Dolphin Marina Apartments on Panay Way allegedly confessed to stealing the box of designer clothes. The Sheriff's Department said Sara Avigal Herrera  was booked on suspicion of grand theft.

Thursday, Clancey told All the Rage she'd invested six months in creating the collection, which had been designed here and manufactured in Mumbai, India, placing the value -- including lost sales to L.A. boutiques and exposure to potential buyers -- at roughly $300,000.

Friday she said only seven of the 40 pieces, valued at about $20,000, had been recovered. "I think the rest are probably in a landfill somewhere," she said.

Clancey said that the clothes had been sent by a Mumbai-based courier, which contracted with Federal Express to courier the single box containing the clothes to her Marina del Rey home. 

"That courier didn't ask Federal Express to require a signature so the box was left in front of my apartment, where it went missing sometime between 10:15 a.m. and 1 in the afternoon," Clancey explained. "The company in India is going to have to make me another whole set but it's not going to help me now. I was already late having this show and the buyers at all the boutiques won't have any money left to spend."

According to a news release issued Friday afternoon by the Marina del Rey Sheriff's Station, detectives in the area are still trying to locate the outstanding stolen property. Clancey said that might never happen, since the clothes might have been stuffed down a trash chute at the complex and the trash has since been trucked away.

"When this first happened people were saying some horrible things on FaceBook like I was only doing this for publicity," she said. "At the very least they should have egg on their face that I didn't make this whole thing up."

-- Adam Tschorn

Photos: Some of the pieces of designer Julia Clancey's Spring/Summer 2010 "Tutti Frutti" collection, two sets of which were stolen from the designer's doorstep Tuesday, causing her to cancel her Los Angeles Fashion Week show which had been scheduled for Sunday. Credit: Julia Clancey

Yotam Solomon goes super sexy for Spring 2010 [UPDATED]

Yotam Solomon has been busy this fashion season. The 22-year-old L.A.-based designer showed his Spring 2010 collection during a Downtown Los Angeles Fashion Week presentation at the MOCA Geffen Contemporary space last week, followed by a full-blown cocktail party and roving fashion presentation for the same collection on Wednesday night at the Chateau Marmont. 

[UPDATED 11:26 a.m. Oct. 28: A previous version of this post spelled the designer's last name Soloman]

In both cases, he eschewed a traditional runway show. "I think a presentation is a more modern way to show collections," he explained at the Chateau Marmont event. "And this way, I get to be out here with everyone, instead of [hanging] around backstage like an idiot."

Guests at the Chateau Marmont soiree, which was hosted inside a private bungalow, were encouraged to interact with the clutch of willowy models swanning gracefully around the room.

"Stop them if you want to see something closer -- that's the point," instructed the designer.

Most outfits only took a minute to take in -- the ultra-feminine collection was all about the super-short: abbreviated cocktail dresses jutting away from the body, marrying '50s taffeta fabrications with an '80s party feel; short bandage-like skirts paired with bejeweled tops; and a few form-fitting '80s-inspired frocks that were beyond short and tight and that felt, regrettably, a little too much "working girl."

But there was magic in the details -- sewn-on glass beads and gemstones (sometimes wrapped in fabric, sometimes exposed) on intricately detailed tops and dresses. “This collection is about playing with light and shining through the economy," said the young FIDM graduate. "And the glass beads on the dresses are so thick, they don't break. I’ve tested them.”

-- Emili Vesilind

Photo: Models at the Yotam Solomon event. Credit: Emili Vesilind / For The Times

Elmer Ave Stays the (Punk Rock) Course for Spring 2010

Elmer Ave's Spring 2010 runway show started out dramatically enough. A pair of models dressed in sexy, punky '40s USO get-ups climbed a tower of scaffolding ascending from behind an elevated catwalk erected inside downtown Los Angeles' cavernous Bank Building. Once they reached a sky-high platform, the dueling models stared haughtily into the crowd for a few moments, then positioned themselves behind twin DJ decks, sending a wall of droning industrial rock over the black-and-leather-clad audience.

But the theatrical prelude proved to be one of the few surprising elements at the L.A. brand's "secret" show on Saturday night (invitations went out only days before the event, with details of where and when the show would be released only upon RSVP.)

When models started strutting down the runway -- showing off scores of rocker-inspired separates for guys and girls -- it became apparent that the brand's designers, Jonny Day, Collin Pulsipher, Ward Robinson and Sean Murphy, would be staying firmly in the punk-rock pocket they've carved out for themselves since launching as a suit-maker for the flamboyant rocker set in 2002.

Blazers silk-screened with stars, fitted vests, tuxedo pants, military trousers with suspenders, knee-high Doc Martens -- we've seen it all before, and from the Elmer boys. Even the exposed nipples (on guys and girls) and "Velvet Goldmine" make-up felt familiar.

It all felt like a missed opportunity -- especially when the collective's combat-rock style seems so ripe for mutation. Designers such as Ann Demeulemeester and (locally) Endovanera regularly mine similar countercultures but manage to surprise us with something new most seasons. How many times can we get excited over military pants stuffed into boots?

There were -- as ever at Elmer Ave shows -- a handful of stand-out pieces. A classic men's black wool overcoat felt very cool and Franz Kafka, while a steam punk-ish women's vest with pleated tails was charmingly riddled with old timey hardware (was that a monocle in her waistcoat pocket or were my eyes deceiving me?)

But ultimately, the collection left us pining for something you can't drape on a (deathly pale) model -- change.

-- Emili Vesilind

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A Fashion Week bright spot: Kevan Hall Spring 2010

At the risk of sounding repetitive (and whiny), the events happening during this L.A. Fashion Week are quite  geographically scattered, with some held in the most peculiar places.

Last night, the Kevan Hall Spring 2010 show took me to the Universal back lot*, where the designer showed his collection on a set of grand steps that made every model look as though she were  descending the steps at the Palais des Festivals at Cannes.

After getting lost, mistakenly driving into the Warner Bros. lot and hiking the concrete hill to the "Rusnak Night of Luxury" event where Hall presented his line, I found the show to be a welcome respite amid the logistical chaos of what this fashion week/month has become.

For spring, Hall did what he does best: vintage-inspired gowns and day dresses that would make almost any woman feel polished, elegant and glamorous.

He specifically channeled the 1960s, with models wearing voluminous bouffants and "Mad Men"-esque silhouettes. The solid-color pieces were breathtaking. Every color was the most brilliant version of itself. Crimson reds, vivid corals and even a concrete gray were so vivid and rich, you didn't dare turn your head until the look was entirely out of sight.

Hall hit the "red" trend right on, with a one-shouldered cocktail dress that was structured, not slinky, and sure to be a classic in many women's closets.

His gowns were part Grace Kelly, part Michelle Obama, with strong, structured bodices and delicate jeweled details at the waist and occasionally as a brooch at the neckline.

Hall worked wide gold belts into this collection, which took a few formal pieces into sportswear territory, showing how versatile a dress can be by just adding a simple accessory.  

-- Melissa Magsaysay

*We previously wrote the Universal back lot is in Burbank. It's not, as a commenter points out. It's in Universal City.

Photos: At top, one of the looks from Kevan Hall Spring 2010. Left, designer Kevan Hall. Right, another sample from the spring collection. Credits: Axel Koester

'Passion...Revealed' pops up during L.A. Fashion Week

As L.A. Fashion Week/Month moves along, a few random events are popping up amid the already fractured schedule.  Last night at the church-turned-event-space Vibiana, "Passion...Revealed"  attracted hundreds of people who came to support an evening featuring a mix of visual artists, musicians, food, fashion and dance.  The lineup highlighted mainly Filipino artists who displayed paintings and photographs throughout the space and into the courtyard.  Even the alcohol was from the Philippines, including coconut vodka, mango wine and the country's most beloved beer, San Miguel.  The fruity wine, popular beer and warm, breezy evening had everyone in high spirits, mingling, enjoying and exploring the various exhibits and attractions.

Then came the fashion component, which included designers Philip Rodriguez, Alexis Monsanto and Furne One, who showed their collections between performances by a scantily clad tween dance troupe and several announcements and recognitions. Ultimately it was a two-hour-long show that at points seemed disjointed and unfocused.

L.A.-based designer Monsanto's line was an overwhelming mash-up of looks, including one-shouldered jumpsuits, lace baby-doll dresses, heavy-handed evening gowns and several men in Speedos. 

Furne One had models dressed in uber-jeweled, frothy gowns form a tableau at the top of the runway.  Individual models broke away from the formation to walk the catwalk and show off their headdresses made of toys and objects such as small bicycles, helicopters and bowling pins painted white. The items were anchored to the head, which was wrapped gift-basket-style with a piece of ombre chiffon. 

Rodriguez pulled inspiration from traditional Filipino clothing, incorporating bolero style jackets, Barongs (men's formal dress shirt), structured shoulders and intricate applique onto dresses.  Though the collection needed editing, it was refreshing to see ideas culled from the designer's culture and worked into many of the pieces.  Overall, each line needed styling, editing, a uniform hair-and-makeup concept and accessories that made sense to each look. 

Long show aside, attendees didn't seem to mind and watched eagerly as the show switched in and out from dance number to designer, dance number to designer...

The event was full of various elements, some better than others, but there was indeed plenty of passion.  Passion that fueled all of the many aspects piled into the project -- the most impressive being the charitable component.  Proceeds from the tickets will go to several charities including the Trevor Project, FASGI (Filipino American Service Group Inc.) and HOPE4Children.  Money from raffle tickets sold during the event will benefit victims of the recent flood in Manila.

--Melissa Magsaysay

Photos: Two of the more traditional Filipino -inspired looks from Philip Rodriguez. Credit: Melissa Magsaysay

Mode Israel says 'shalom' to Downtown L.A. Fashion Week

Israel might not be the most well-known arbiter of fashion, but Israelis Alber Elbaz, Elie Tahari and Yigal Azrouel have become respected industry names. Elbaz, Lanvin's artistic director, works from Paris with Tahari and Azrouel, who are both based in New York.

Wednesday night, the Israeli Consulate presented Mode Israel at MOCA's Geffen Contemporary, sponsoring the local debut of seven native designers plus jewelers as part of Downtown L.A. Fashion Week .

Mode Israel designers collectively borrowed from the 1980s playbook -- harem pants, leggings and mock turtlenecks and jumpers, while shunning any color in favor of that decade's preference for monochromatic hues of black, gray and white.

The show kicked off with Kedem Sasson’s collection of oversize coats and long dresses meant to double as plus-size fashions. 

Bracha Bar-On, Bet Ka, Yosef Peretz and Alembika showed mainly on-trend layering separates such as blazers and cardigans worn over sheer dresses and leggings.

The result was perhaps more suitable to a trade show than a runway (a few designers are also participating in this weekend’s L.A. Fashion Market).

Shai Shalom was the only designer to incorporate menswear in his presentation, though the body-conscious shirts and slim-cut shorts appeared to veer close to Bruno territory, which subtracted from the appeal.

The aptly named Sugar Daddy presented graphic tanks emblazoned with peace signs or revealingly sheer tanks on female models that drew resounding applause from males in the front row. 

-- Max Padilla

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Photo: A look from Alembika. Photo credit: Peter Halmagyi

‘Project Runway's’ Jerell Scott opts for ‘more is more’ for Spring 2010

 Jerell Scott is a believer in piling it on. In his mind, crystal-laced ribbons, tribal prints, craftsy yarn details, appliques and cuffs decorated with iridescent plastic studs all belong on the same outfit.

And while the “Project Runway” alum’s Spring 2010 collection -- shown Wednesday on the runway for Downtown L.A. Fashion Week at the Geffen Contemporary at MOCA -- had a few fun moments, the designer's “more is more” aesthetic largely came off as overkill.

The dress-heavy collection had so much going on it was difficult to distill the basic elements. Why put a leather shoulder piece on top of a dress already so busy it needs its own day planner?

The L.A.-based designer, who was one of my favorites on the fifth season of "Project Runway," said he's "really inspired by the different cultures of the world," which showed in the collection's tribal-inspired maxi-dresses, with roomy and back-revealing cuts (they would have been show-stopping, had he not festooned them so deeply with crystal-encrusted ribbon and the like).

Ultimately, the juxtaposition of earthy/tribal elements and "Dynasty"-style sequins and glitter felt incongruous. The few bright moments in the show materialized when Scott eschewed the weird mix and went for all-out '80s glam; for instance, a lace and silver-sequined cut-out minidress you could easily envision on a Peaches Geldof or a Lily Allen.

And Scott is definitely aiming for the stars with his new line. "I've always been very much an evening designer, but now I'm really gunning for young Hollywood," he said backstage after the show. "The collection is glitzy L.A. -- I'm going for celebs by any means necessary."

-- Emili Vesilind

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Photo: A gussied-up Spring 2010 look from Jerell Scott at Downtown L.A. Fashion Week. Credit: Emili Vesilind / For The Times

From Paramount to Petersen: Rock Fashion Week LA to shift venues

Even before its full line-up of designers has been released (we're told that should happen soon), the highest profile addition to the Los Angeles Fashion Week/Month landscape has announced it will be shifting venues from the historic Paramount Studios lot on Melrose Avenue to the Petersen Automotive Museum on Wilshire Boulevard.

A Rock Fashion Week LA representative told the Rage that the organizers had been so focused on the recent merger of the Rock Media and Gen Art entities that the decision was made to hold the event in a space that's already been event tested (the Petersen has been home to assorted Gen Art Los Angeles Fashion Week events over the years).

"There's no problem between them and Paramount," KPR's Alison Kennedy assured us. "It's just more efficient at this point for them to stage the shows in a place that's more familiar."

Kennedy confirmed that the dates remain Oct. 29 through Oct. 31 and will end with a lingerie-company-sponsored Halloween party. She also said that Alicia Lawhon, who's scheduled to debut a new line on the Oct. 29 as part of the Gen Art line-up, was bowing out due to personal reasons and would be replaced by designer Valerj Pobega.

-- Adam Tschorn

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